By Evelyn Alsultany
After Sep 11, there has been a rise in either the occurrence of hate crimes and govt guidelines that detailed Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims within the U.S. media. Arabs and Muslims within the Media examines this paradox and investigates the rise of sympathetic photos of “the enemy” in the course of the battle on Terror.
Evelyn Alsultany explains new average in racial and cultural representations emerged out of the multicultural flow of the Nineties that contains balancing a damaging illustration with a good one, what she refers to as “simplified complicated representations.” This has intended that if the storyline of a television drama or movie represents an Arab or Muslim as a terrorist, then the storyline additionally contains a “positive” illustration of an Arab, Muslim, Arab American, or Muslim American to offset the capability stereotype. interpreting how television dramas resembling West Wing, The Practice, 24, Threat Matrix, The Agency, Navy NCIS, and Sleeper Cell, news-reporting, and non-profit advertisements have represented Arabs, Muslims, Arab american citizens, and Muslim americans throughout the warfare on Terror, this ebook demonstrates how extra varied representations don't in themselves clear up the matter of racial stereotyping and the way even doubtless optimistic pictures can produce meanings which could justify exclusion and inequality.
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Additional resources for Arabs and Muslims in the Media: Race and Representation after 9/11
These guys have nothing to do with my faith,” he proclaims. At various points, the terrorists decry football and American arrogance, a trait highlighted in one scene in which some frat types harass a Sikh, mistaking him for an Arab, and allowing Mr. Survival of the Fittest to explain to them and us the differences between the cultures. . 30 Some liberal television critics, in other words, claim that the pedantic quality of these representational strategies compromise their entertainment value.
It is soon revealed, however, that they are a sleeper cell; in the episodes that follow, each family member’s relationship to terrorism is explored. The father is willing to kill his wife and son in order to complete his mission; the mother reconsiders her involvement with terrorism only to protect her son; and the teenage son, raised in the United States, is portrayed with an evolving sense of humanity that ultimately prevents him from being a terrorist. This strategy—humanizing the terrorists by focusing on their interpersonal relationships, motives, and back stories—is also central to Sleeper Cell.
Feeling are policed differently in the case of Muslim women and Muslim men. Chapter 3 examines how Muslim women have for the most part become sites of public sympathy and moral outrage, and chapter 4 examines how Muslim men have become sites of moral disengagement. In the case of women, I pay special attention to the ways in which discourses of multiculturalism and feminism are co-opted by the government and media during the War on Terror. In the case of men, I trace how some journalists have located the causes of 9/11 in the dispositions of Muslim men, showing how sympathy toward Muslim men is strictly regulated through coding race, gender, religion, and sexuality.